A Study Of The Mother Image In The New Taiwan Film

In 2008,the hot release of "Cape Seven"(directed by Wei Desheng)became a significant landmark event in Taiwan’s film history,and Taiwan’s films began to emerge from the trough and move towards recovery.With the growing development of Taiwanese films,some scholars have begun to refer to Taiwanese films after 2008 as new Taiwanese films.In the new Taiwan movies,films that focus on women and show their lives present rich and diverse colors.Specifically,in shaping the image of a mother,Taiwanese directors presented a group of three-dimensional and full-featured characters to the audience: Xue Feng and Zi Hua in Zhang Zuoji’s "When Love Comes"(2010),and the mother in "Drunken,Lived,Dreamed,and Died"(2015),Wu Chunlan in Zhong Menghong’s "Fourth Painting"(2010),and Luo Pinwen in "Waterfall"(2021),and Ling Zi in Qian Xiang’s "Echo Sonata"(2014),Mrs.Tang and Tang Ning in Yang Yazhe’s "Blood Guanyin"(2017),Liu Sanlian in Xu Yuting’s "Who Falls in Love with Him First"(2018),Lin Xiuying in Xu Chengjie’s "Solitary Taste"(2020),and Wang Lili in Ruan Fengyi’s "American Girl"(2021)have all become classic images on Taiwan’s screen.This thesis takes the role of mother in New Taiwan movies as the research object,based on a feminist perspective,and using psychoanalysis,sociology,and narratology as auxiliary theories,and further analyzes the construction of mother images in New Taiwan movies by selecting representative films of mother images in New Taiwan movies after 2008 for text reading,categorizing and summarizing the characteristics of different mother images,and analyzing mother and others,Especially the relationship with her husband and children,and then explore why a mother,who should have been free and relaxed in the decline of patriarchy in the new century,is full of sadness.The full text is divided into three chapters.The first chapter discusses the types of mothers in the new Taiwan movies,including the land mother,which has always occupied a dominant position in the history of Taiwan movies;Complain about the nagging,selfish and alienated "evil mother";There are also "dang mu" who are traded and stared at;The second chapter discusses the relationship between mother and others.In the relationship with father,father’s dereliction of duty,incompetence,and absence forced mother to adhere to a marriage full of crises,and the burden of life shifted to mother.Mother began to rise and become the head of the family;In their relationship with their sons,there are not only dependence and attachment from close relatives and cultural influences,but also pressure and persecution caused by practical difficulties;The relationship with a daughter is more rooted in the gender identity of the mother and daughter,and the mother becomes a mirror image role model for her daughter.At the same time,after breaking the myth of a harmonious ideal mother-daughter relationship,I found that the relationship between mother and daughter is also full of conflicts,but ultimately will move towards reconciliation;The third chapter concludes that the new Taiwan movie presents the real life state of mothers in Taiwan society on the screen,breaking the myth of motherhood,restoring the secular and original nature of mothers,and displaying the plight of mothers’ lives.The "silence" of mother’s discourse and the shielding of female consciousness have made it rise under the decline of patriarchy,but it has not constructed maternal discourse,instead,it has become a spokesman for patriarchy,becoming another "father" under lasting and comprehensive discipline,and reconstructing patriarchal discourse.To a certain extent,the portrayal of mother images in New Taiwan movies is of progressive significance.It not only tells the plight of mother’s life,but also enriches the screen types of mother images.But at a deeper level,mothers are still oppressed by patriarchal culture and become victims of the decline of patriarchy.The author hopes to enrich the research territory of Taiwanese films after the new century by studying the mother image in the new Taiwanese films.